Nos. 88 and 89 were built on the site of a large mansion, the staircase of which was adorned with allegorical figures. It was here that Hogarth’s particular friend, John Pine, lived. Pine was the engraver and publisher of the scenes from the Armada tapestry in the House of Lords, now destroyed. He was a round, fat, oily man; and Hogarth drew him, much to his annoyance, as the fat friar eyeing the beef at the “Gate of Calais.” His son Robert, who painted one of the best portraits of Garrick, and carried off the hundred guinea prize of the Society of Arts for his picture of the “Siege of Calais,” also lived here, and, after him, Dr. Gartshore. The house No. 96, on the west side, was Powell the colourman’s in 1828; it had then a Queen Anne door-frame, with spread-eagle and carved foliage and flowers, like the houses in Carey Street and Great Ormond Street, and a shutter sliding in grooves in the old-fashioned way. Mr. Powell’s mother made for many years annually a pipe of wine from the produce of a vine nearly a hundred feet long.[461] This house had a large staircase, painted with figures in procession, by a French artist named Clermont, who claimed one thousand guineas for his work, and received five hundred. Behind the house was the room which Hogarth has painted in “Marriage à la Mode.” The quack is Dr. Misaubin, whose vile portrait the satirist has given. The savage fat woman is his Irish wife. Dr. Misaubin, who lived in this house, was the son of a pastor of the Spitalfields French Church. The quack realised a great fortune by a famous pill. His son was murdered; his grandson squandered his money, and died in St. Martin’s Workhouse. No. 104 was at one time the residence of Sir James Thornhill, Hogarth’s august father-in-law, a poor yet pretentious painter, who decorated St. Paul’s. He painted the staircase wall with allegories that were existing some years since in good condition. The junior Van Nost, the sculptor, afterwards lived here--the same artist who took that mask of Garrick’s face which afterwards belonged to the elder Mathews. After him, before 1768, came Hogarth’s convivial artist-friend, Francis Hayman, who decorated Vauxhall and illustrated countless books. Perhaps it was here that the Marquis of Granby, before sitting to the painter, had a round or two of sparring. Sir Joshua Reynolds, too, a graver and colder man, came to live here before he went to Great Newport Street.